dlf

,:

THE PROBLEMIST
SUPPLEMENT
ISSUE 3

SEPTEMBER 1992
EDITOR:

B D Stephenson, 9 Roydtietd Drive, Waterthorpe, SHEFFTELD, 519 6ND

M McDowell, 76 Boston Avenue, SOUTHEND-ON-SEA, Essex, SS2 6JB
J R Coward, 25 Elmwood Avenue, HARROW, Middtesex, HA3 8AJ

SOLUTIONS EDITOR:
SELECTIONS EDITOR:

Welcome

to

another issue

of

our

supplement. All originals printed here take

part in the normal Problem,bf tournaments,
so that publication in this supplement is

equivalent
magevrne.

to

publication

For this supolement,

in the

can play either the threat or the set mate.

W A SHINKMAN
Chess Monlhly Ty., 1885

main

I am lookino for

straightfonarard oiiginals of all types. ld6alV,

they should be pointed, well constructed, and
have entertainment value. lf you think that

you have anything suitable, please submit it

in the normal way to the appropriate

sub-

editor, stating that you consider it may be

suitable for the supplement.

The supplement has its own

unified

:tlffii:

solving ladder and all are eligible to enter it.

Prizes are in line with the main maoazine.

An error crept into the tvoind ol

John

Coward's articlei in the last idsud. and the

term model mate was wronolv defined.

Please refer to Robert Lincoln:d welcome

on miniatures on page 22 which

i]ii:iii]iil:iiiili;

article

contains the correct definition.

Also in this issue, John Coward selects a

problem by the 'Wizard of Grand Rapids' for

his analysis and Brian Edwards

provides
some words of advice for novice comoosers.

BDS

SELECTIONS

'waiter', completing the block. Herq is an

early example of the opposite idea. Mate is
already set for every black move, so the

In the initial position, we see a set dual:

aft_er 1...891, White could mate by either

2.Q93 # or 2.814
This can be a clue to
solvers, because white can atford to

#.

surrender one of the set mates in order to

_ In our first issue I gave an example of

incomplete block in a 2-mover, where
instead of making a threat, the key is a

solver.may well expect

#2

waiting key

mates. Inslead, the key carries a threat

possrbly one which changes some of the set

hence the problem is call-ed a block-threal.
Duals (alternative white second moves)
are normally regarded as an undesirable
feature in a problem, but in a block-threat
problem some duals are almost inevitable
because there will be variations where white

provide for other black moves - and often

does; composers try to avoid duals in the
actual solution.

The key inevitably disturbs some

set

mates but usually substitutes the threat, but

here, after 1...BeS, White cannot play either

the threat or the set mate, so we see a

changed mate. Apart from this and the
threat, the key inlroduces no new play (play
not already set); but it has the merit ot giving
the black king the flight square e5. This is
called a tlight-giving key, intended to take
unwary solvers by surprise.

_18_

# 'A simple miniature with a

give-and take key and good co-operation between
king and rooks to round up lhe stray monarch.' (MM)
'Quiet second moves nudge Black into the dungeon.'
(JG) 'Nice miniature, but-why the pawns on e7 and
e6?'(KD) Good question - lhe problem appears to be
sound without them!
2.Rh3 0 Ke1 3.Re3

Solution:1.Qq1

(2 -Qx]n2#l

a- - -be5

z-Bxc)

1...B93
1.-.Bf4
1...Bx91
1...Rb2

2.Qxg3

i
#

2-Bxf4 #
2.8f4 +
2.5c4 +

PS7 (Borovik) 1.Rh8! 0 1...8xe3 2.Rh3 0

#; 1...8f4 2.Rh4 0 B- 3.Qc6#; 1...895

'An
JRC

soLUTroNS (MAY.1992)
PS1 (Kelly) 1.Rd6! 0 1...e5/8b",{3/exd6
2.Sh6/Qb1/Qxf3/Qh7 #'A pleasing double-sacrifice

key, motivated by the need to provide for 1...e5.'

(MM). 'Elegant Meredith with sacrificial key to guard
e6.' (N Postance) 'Small but efJective.' (R Turnbull)
'Four pleasanl mates.' (K Dewhurst)

PS2

(Eriksson)

Sel play:

1...e4lg4ls-

1.Qf6! 0 1...e4l94/S#
2.8h3/Bxd3iSd5 # 'Mates are set lor all black moves
in the diagram, but White is unable to play a "pass"
move which will mainlain the set play, so the key sets
up a new zugzwang, with di{ferent mates tollowing the
pawn moves. Such a problem is called a mutate, and
PS8 illustrates the same idea in 3-move {orm.' (MM)
'Two charming changes. (S Dhanapal) Clever little
'B

2.Qb8/Qh6/Sd5

role ieversal.' (J Gill)

James Ouah thinks that 1.Qt6J8 key would be
mulate, allow'ing O"and

preferable, but impraclical because o{ the cook 1.97.

He also suggests a construclional improvement hy
replacing d3 and d2 with a wS on c2.

PS3

(Shire) 1.Ba3?

(2 Sd6

(2 Rcs #)
#) 1 ..d4! 1.8h5! (2.Bez #)

Sb4l

1 ..
1.8c5?
1 . Sb4/d4le2lsc3

#'A lucid example ot the popular

Dombrovskis theme, named after a l-alvian
composer who produced the first example in 1958.
The black refutations which deteat the trv threats
2.Rc5/Sd6/Bxe2/Sa3

return as posl key defences. and by a- strange

paradox allow the very mates lhey originally
prevenled!' (MM) 'Dombrovskis with a nice sacrificial

PS8 (S Mladenovic) Set play: 1...Sxe2 2.Qxe2 &

3.Qe8 #; 1...Sxf3 2.QxJ3 & 3.Q18 #; 1...Sxh3
2.Qxh3 & 3.Qh8# 1.Qxg3! 01...Sxe2 2.Oe1 0S"
3.Qe8 #; 1...SxJ3 2.Qt2 0 S- 3.Of8 #; 1...Sxh3
2.Qh2 0 S- 3.Qh8 # 'A 3-move mutale with set
captures replaced by ambushes. A beautifully simple
idea.' (MM) 'Nice switch from grab lo ambush.' (R
Smook) Mutate with similar post-key play to PS7.'

(JG)

'Similar strategy

comparison.' (JQ)

repetitions o{ moves and lack o{ themalic conneclion

between lhe solutions, while others were charmed by
the achievement of four accurale solutions from such
slender means. In the end it all boils down lo

personal Dreference.

complete black hal{-pin, with

the

wQ

PSs

(Pfeiffe0 1.Sd3!

(2.Sb4

#)

1...Kc6+iKxd4+/Rc4/Sc6 2.St5/Se5/Sc8/St4 #'A

spectacular key which grants the king two checking

flights, each countered by a cross-check mate. The

by-play (variations which do not form part ol the main
theme of the Droblem) leatures self-blocks and a neat
shut'o{f mate following 1...Rc4.' (MM) 'Good gifl key
and accurate play. Quite difficult.' (NP) 'lntricate
cross-checks and shut-otfs.' (JG)

PSO (Kozhakin) 1.Kc2! 0 1...Kd4 2.Re5 0 Kc4

#; 1...Ke4 2.Kd2 0 Kd4 3.R14 #i 1...Ke2

3.Re4

JG asks il the

solutions

beginning 1.KcO are separale solulions or duals - the

answer must be the former, although it is prelerable to
avoici repelilions on lhe lirsl move if possible.' (MM)

PS10 (Slesarenko) .l .Bxd3+ Se7 2.Bb5 Qi5 #;

'tr.8x{5+ Se5 2.8e6 Qg6 # 'A well-unified problem,
with each solution showing a capluring discovered
check, line-clearing inlerposal, line-clearing shut-otf
and Q mate. Altogether a typical strategic helpmate

two-mover.'

#:

in

quite differing reactions, with some criticizing the

PS4 (Barnes) 1.Rc5l (2.SdG #) 1...Bxt7te4/Bxc5/94

2.Qd3/Qd7/Sh6iBg6 # 'ln the half-pin theme two
pieces stand between their king and an opposing line
Diece so that if one moves oll the line the other
becomes pinned. The {irst two variations in PS4
exploiting the pin in each case.' (MM) 'Key gives
necessary scope to the queen.' (JG) 'Simple idea in a
pleasingiy simple Barnes setting.' (RT) 'De{t key sets
up lour elegant mates.' (KD)

to PS7. but ralher dull

PSg (Cameron) 1.Kc6 Og8 2.Kc5 Qc4 #; 1.Kc6 Ba6

2.Kc7 Qc8 #; 1.8b4 Bb5 2.Kc5 Qe5 #; 1.8e5 Qc8
2.Rd6 Qc4 # 'Our first original helpmate provoked

closures.'

Ettinger) 'Well-construcled problem with

attractive mates.' (NP)'Most impressive.' (RT)

3.Ra3

2.Rh5 0

3.Qb3 #;
ambush key which leads to three
ambush continuations. Solvers felt thal the kev was
easily spotted because the rook is doing lifile at a8,
bul appreciated the different male in each variation.'
(MM) 'A pleasing RvB dual.'(JG) 'Amusing idea, with
the i'ook doggedly shadowing the bishop.' (KD)

key.' (A

illustrate

B-

B"

(MM)

'Brilliant line openings and

(JG) 'Nice

run-of-the-mill helpmate with

fairly novel white piece removal theme.'(RT)
PS11 (Bantysh) 1.Qxaz Ba4 2.Kb7 Rxaz 3.Ka8 Bc6
'When
1.Oxe4 Rd5 2.Kb7 Bxe4 3.Ka8 Ra5
solving longer helpmates involving a wB and R it often
pays lo consider trying to set up a battery, because ol
the devastaling power of the double check. PS1 1 is a
light, straightforward example, although is is a slighl
pity that in each solution the king must make for a8.'

{MM)

'Subtle sacrilices

oi the bQ.

miniature, intricate solving.'

(SD)

Almost a
'Farjlung pawns

provide the clue for solving.' (KD)

PS12 (Edwards) 1.Qd5+ 1...Kxf5 2.O-O+ S{3 #;

1...Kd3 2.O-O-O+ Fld2 # 'Perhaps not difficult to
solve, as the need to control the free-ranging black

force makes

checking key essential and the

arrangement on the bottom rank suggests the lheme;

nevertheless an ambitious undertakino for a first

(MM) 'A complex

idea. nic;ly sel. An

(NP) 'Castling variations excellent,
'Entertaining
idea, but surely
despite key.' (SD)
selfmatel'

impressive debutl'

setting could be improved.'(RT)

PSl3 (Greenacre) 1.e8=B! 0 'A knight-wheel relers

to a group of variations produced by a bS which can

move lo ils maximum range of 8 squares, and pS13

contains two complete knighl-wheels. In each
variation the S which rDves is captured leavino its

parlner pinned (the haf-pin theme aOain) and toriino

2...c2 #.' (MM) 'Heavy setting, tiut a qood
underpronrotion key.' (NP) 'Very beautiful double
knight-wheel.' (HBF Boumeesterj'Familiar orab
The try 1.eg=e? defeared by 1...5c6!
!!ery.l1BT)
(2.Axc6??) caught sorne.
PS14 (Shuryakov) The intention was a lono series of
marches back and lon^,ard around the wK-(s.Kh2 ...
12.Kxc7 ... 26.Kxa5 ... 42.Kxa7 ... 58.KxbS ... Z3.XxOt
74.Kc6 ...76.8c8 77.Kd6 dxc8=Q =), but there are
any number of short solutions and the bK can save
most energy by taking the direct route 1.Kxd4 2.Ke5
3.Kd6 4.Kxc7 5.Kxb7 d8=O =

PS15 (Grolman) (a)

Rc1

1.al=B Rxal (+bBf8)

2.Kd8

3.8e7 RcB #; 1.a1=Q Rxal i+bod6) 2.Kr8

Rg1 3.Qe7 Rg8 #; (b) 1.a1=S+'Rxa1 i+bSb8)
2.Kd7 Ra7+ 3.Kc8 Rc7 #; 1.a1=R Rxal i+bRh8i
2.K17 Ra7+ 3.K98 Rg7 # 'A problem which ieatured
all four possible promotions is said to show the

lor ',all the

promotions" - usually shorlened to AUW). pS15
shows an AUW lrom a single pawn, and in addition
the lwo mates in each part are echoes of each other.'
(MM) 'Attractive mates, fine twinnino. AUW. usino
only 5 units. Beautiful!' (NP) 'Astonishino varidtv witF
so little material.' (JG) 'Oulstandinolf economical
AUW (RS) 'lnteresting use of Circe io obtain AUW
and echo mates in both phases.' (AE)
Allumwandlung theme (German

PS16 (Vasilenko) 1.R16+ gxf6+ (+bRhB) 2.Kf8 Sd7

3.K98 l7#; 1.Rh8 St7 2.Rh15 gxh6 (+bRtiS) 3.O-O h7
# 'Solvers are owed an apolooy, as pernafs it should
nave oeen made c|ear that a rook which is sent home
by a Circe capture is regarded as "new-bom', and

hence available for castlino.' (MM) 'Surorisinolv

difficult.'(NP) 'Very pteasinghatbs.' (RS) 'Nbat id;dl
males.' (AE) An ideal maie is one in which everv
square around the bK is blocked or Cruarded in on;)

way only, and every piece on the board participates in

lhe mate. lf a double check is involved. both checks
must be necessary.
PS17 (Karclos) 1.8d8 2.8h4 3.Rh7 4.BoB 5.Sf7
g.Kha 10.S97 GfB # 'A nicety-controiled
Sequence
teadtng to a smolhered mate, and a oentle
introduction lo one ot the most popular fairy pi6ces.'

(MM)

'lnteresting puzzte.'

grasshopper.'
tribute.'(KD)

(RT)

(Np)

'Pleasing logic.'

'Uhderused

(JG) 'A nice

PSl8 (Sabol) (a) 1.Ke2 2.Rxa2 (+wRh1)

3.Rd2

#; (b) 1.Kd2 2.Sxh3 (+wRhl)

3.Sxf4 (+wPl2) 4.Se2 Rd1 # 'Another echo droblem.
which illustrates some of the qjrious effecis produced
by lhe Ckce stipulation. Note how in each'solution,
Black cannot capture the R on his first move as he
would.be putting his K in check, and how in mating the
R is immune from capture because in eflect -it is
guarding ilselt!' (MM) 'Thematic solutions and oood
use of Circe condilion.' (NP) 'Clever demonstrati6n ot
the.genre:(Jc) 'Nice echo and a Jitting end to lhe
series.'(AE)
4.QxcO (+wPc2) Re1

MM

OBIGINALS
There is a shortage of originals, so there are

some quoles this issue. Composers please note!

The'#2' under the diagrdms ot'pS37-pSi39

means'w to play and mate in two moves aoainst
any defence'. PS40-PS43 are also dlrecimate

problems, but longer.

PS37 is by one of our veteran solvers, whose
name is not seen often over the diagrams. PS38
is by a great master of the past while pS39 is
another selection by the Swede quoted in our
first issue. The 3-erb start with 2 miniatures by 2
newish composers.
In the helpmates (PS44-PS47), B ptays first
and co-operates with W to enable W to mate B in
the number of moves specified. In pS47 oart (b)
is produced by removino the bR from the tioard. '
PStl8 and PS49 are selfmates in which W

plays and torces B to mate W in the number of

moves stipulated.

ln both PS50 and PSst, part (a) is normal

chess while part (b) uses the Ciic'e condition
defined in the next paragraph. The diagram

pos[ton remains the same, only the rules

change! They may be simple, but etfectively

show the difference that Circe can make.

PS50-PS52 use the Clrce condition which is
defined as follows. When captured, a Diece (not
a .K) iq immediately replaceil on its bquarej of

ongtn (game array square) if that square is

empty; in the case of R, B or S on the situare of

the same @lour as that on which it was cdotured.

Thus a wR captured on h8 (a B square) would be

replaced on

al,

provided a1 was empty; it

a1

of Pao and Vao. Get to part (b)

by

was occupied the R would be removeil irom the

pg?rd as in a normal capture. Pawns go to the
initial square of the file they are capture--d on. A
replaced R is deemed noi to have moved for
castling purposes.
PS5? by our solutions editor, shows a poputar
theme in Circe quise.
And that wa6 where the originals ended, and
so I've had to use my own! PS53 has Chlnese
Pleces, shown facinq left in the diaqram. The
wPao on f5 moves on rook lines, b-ut captures
along those same lines by hopping over the first
ptece (ot ettner cotour) it encounters to caoture
an enemy piece on the next occupied square
beyond. Thus in the diagram Paof5'could ftove
to f6, f7, f8 or f4, and could caDture on f2. lt can
make no other moves. The Vao on d8 is similar.
but on bishop lines. The Leo at d6 combines the

powers

moving wRdT to f8. When there are fairy ilibce3

on the board, the convention is that promotion to
all four normal pieces, and to anvthino else
present in the dialram position, is alloirved.-

In Madrasi a unit, not a king, which

is

observed by a similar enemy unit, Is paralysed

ano toses ail powers except that of oaralvsino. ln
King Madrasl, this rule atbo appties to the kinos,
and in PS54 they are not cfiecking each other
because they are.mutually paralysed! Neither

wilt ever move aoain.

Send your sol-utions and comments to Michael

McDowell (address

on front page) within

months of receiving this issue. Happy solving!

BDS

-20PS38 IA SCHIFFMANN

PS37 TG POLLARD

Chess,1943

1sl Prize. Chess Amaleur, 1929

l,, a
AAE.

Prize, Schackvarlden,

:'l+ Ait,
A E.A:

a-.'4.l 6-

l..:i.:'i...

935

1.1.tt

:.i.i.i,.

A .I, A i..iliiA

l.

,,

t:

'

t..'..',."

l:.r(:
:a::

:.:.!.::

:i!rl

PS42 PMAKARENKO

PS41 J MAYHEW

PS4O J QUAH

,,,'lst,,,ffi,'i,i,,'i*i

'

*A. l-*fiA "A

:r,E'.

PS39 F O ERIKSSON

(Kazhakstan\

(Plymouth)

T.

!..:.::.:1.:::.,E.A.g:

.; l

IT

i:.tll;i.;:,

:ri::,::r,::

e,.i,,.,...iltr

fi

.:1l:i.:1l.:.:A

:...,..lrt.t,

.,.:.::..|.:.:l..,,:,.fl

,,,,,,,,,,,,,,1

--

.*'E.ii,..ii...l.A

l ..

,Ir':

...::::'.r.

::,:::::f:,

#3

#3

PS43 WSPECKMANN

PS44 D J SHIRE

(Germany)

,,

-.I
:::l::::::

PS45 M ROLAND
(Brazit)
rf+l

tl A
,EA
--*
f aAI- a::
:,:1,,:,1:,,,:,::,,:,:

il.:, ...l['.

r:::,::::r:::,

,..il

--

saa

rT

'

#4

:::..::;::.,

::,:::::,:::::t!::
r:::l::::ri .:::::::::

H#2 2 solutions

H#2

solutions

fl.i
]_

:il.'...l..

-21PS46 KDRAZKOWSKI
(Polandl

PS47 E A VAULIN
(Fussra)

PS48 IMIKAN

H#3
(b) -bRa4

PSsO VANEBOTOV
(Ukrainel

PS51 VANEBOTOV
(Ukrainel

:il:f,:ii:iri:ialll:*i

ti}^i
..:.::.:.::.:.:::.:it:.::.1i:.:::.:u:l
: :.::.:: :::,:,::,:, i :,irvti:
::::::::::.: ::j:i::.::::.::

i:l.;':lll

.::::.::i:::,

::,!,:::j:,i

..::...:.....,,.,.::,:;;;..4,.u..,,,,.:,:,.:i

l::::1:::

l:ll:lll

::::llll

::il:ll!::l

i::l:ii:iii:j::i :ii;:iii:l:il: :iiiiiiri:li::

Xitli:ii::!: :l::::ii:::i: iii:iii!::lir l:n:;;iil;i
,:'i,..::' .::,:.::'.:::. ' :..:.:::: :. " ::r:':'::', '

i::lii:ii:ii

ir:r::r::i::r.

:::::

::::':::-':':::: :::::::

::i::::|:::tii:: iii:ii::::ii: ;:ii::li::::il

,i::t:t

:li:.::::

M MCDOWELL

,:'::i:::':
:i ll i:l

:i.t::.i

.:

ii

li:l :l:

i:::iii:::i:

:.::!t::,,:
::11:: l

H#2
(b) Circe

H#2
(b) Circe

PS53 B DSTEPHENSON

PS54 BDSTEPHENSON

H#2 Chinese Pieces

#2 King Madrasi

(b) wRdT -> f8

- 22-

all the white pieces (with the

permitted
exception of the king and pawns) take part.

VARIETY IN THE MINIATURE

by

(3)

Robert Lincoln

R LTNCOLN

Original

(The solutions to the problems in this

anicle can be found on the back page - Ed1

Mate in two problems are

often

cumbersome affairs. Nowadayd, they seem

to display bewildering patterns of virtual and
changed play. Not so in the miniature. Here
one can still enjoy straightforward traditional
positions. I like to achieve five distinct mates
when constructing such small wares. Overall

ti

l, ',
i':::i:::.:l

interest must surely depend on sufficient

vanery.

general solving hint

for these

ten

originals; the white queen will make the key

and deliver exactly five coups! The first two
see lhe quarry getting more freedom.

(1)

#2

White nearly succeeds with 1.Qe7? in (4),

but Black slips out via 1...KhS!.

tries.

R LTNCOLN

Original

(4)
.

.... r!::i::::i:i::
:.,,',..',.4

:t:::it:::i::::

R LTNCOLN

Original

,:,i:::i:it::

f'1

.i....i.......

..i...'i....l.

t:trlill.,:

i;

;i..''i

::

: :t:

;:lii::::.l:

: : ::
P I

/.\:
IJ
::::

#2
R LTNCOLN

#2

Original

A pair of tries figure in (5) - 1.Q98+? Ka4!

and 1.Qe2? a2!
llliillli']jii...........i:si

.fl

E,',

...,.'........

''ln+.$

#2

(3) has a set response for 1...Kd5 2.Qe6

This is a so-called model checkmate
because every square in the black king's
field is guarded (or blocked) only once and

#.

::::i::::.,::t:,iil:,ii:ii:':,

.lll..'....iii.,,,..,..,:.1,.il,.

Ar'

:::::

(2)

False

solutions with a single refutation are termed

(5)

R LTNCOLN

Original

-23(6) alg (7) have a 'give and take' firsr

move. The take is less obieclionable in (6).
lf Black goes 1...Kf6 at the outset, he'i's

greeted with 2.Qh6

(8)

R LTNCOLN

Original

#. The variation after the

defence 1...f6 is a model usino every unit.

This further refinement illustrales an- ideal
mate.

(6)

R LTNCOLN

Original

#2

Unlike previous examples, the last two

show_z-ugzwang. (10) has a promising stroke
1.495? met by 1...d5!

(9)

R LTNCOLN

Original

#2

In (7) Black's rook and bishop parrv with

rff., .,, ,ts{

both unguards and selfblocks.

-:t.:.:: :

(7) R LTNCOLN
Original

::::::::i

'I l,
fi.,',,,;.:.:E:';.:
.
-',, ,j
,',.'

,'

.1,,i

.,.,

A
.,.,1

,,

#2
,

(10) R LTNCOLN
Original

#2

:l::::::l:!

I,ll{

Placing the black king of the edge reduces

angles of approach. Hence, to realise a
queen quintet of mates is pleasing in (8).

,'\
(Tl
:ii::liliiii:

#2

these efforts pose some challenge

. I hope
lor
sotvers and may inspire budding
composers.

-24SOLUTIONS TO LINCOLN

with, say, an orthodox three-mover in

mind, but be prepared to settle for a
two-mover or four-mover, or even a
dillerent genre, should this lend itself

PROBLEMS

) 1 .Od7! (2.Od4 #) 1 ...Sb5,Sd5,Se2/e5/Bt5+/Ke5

2.Q(x)dS/Qxh7/Qxt5/Qxe7 #
(1

better to the intended theme.

4. Be as

(2) 1.Oe3! (2.O93 #) 1...8e5/Bxh4/Rc3/Kxh4

2.Q95/Qt3/Qe4/ Qh3 #

flexible as possible during

construction. Learn from the pieces
used in the task by substituting them

(3) 1 .Qe3! (2.Qc5 #) 1 ... Rc8, Rd4/Rd5,Kc3/d2lKds

2.Q(x)d4lQc1/Qb3/Qe6 #
(4) 1 .Oc8! (2.Oe8 #) 1...BazthstKhstKt7
2.Qf5iOe6/Qg4/Og8 #

with others and examining the

difference this makes to the overall
complexity and economy of the

(5) 1.Qe4! (2.Ocz #l 1...Bh7lazlKazlKc3

2.Oc4/Qb4/Ob1/Qe3 #

employed is too powerful.

problem. For example, a heavy setting

might indicate that the attacking lorce

(6) 1.Of4! (2.Of5 #) 1...f6/Se3,Se5/Sxd6/Kd5

(An interesting art:le! I'd welcome views from

other composer on this mysteilous ptocess ol

2.Qxc4/Q(x)e5/Qxd6/Qe4 #
(7)

.Of

4!

(2.Od6 #)

...Rh6/Re5/8c7, Bd4/Bcs/Kcs

2.Qf 5/Qc4/Q(x)d 4l Qe4/ Qc4 #

composing. Whdt exactly are we doing when we sit

there shifting wo( J for hours on end? Each amposer
will have his own technique that he follows. What's

yours?

(8) 1.Qd3! (2.Qxb1 #) 1...Sa3,Sc3iBe4/Kc1/Ke1

2.Qxd2/Qt1lQc2/Qe2 #

3 is

pafticularly

idea, but it should have been a helpmate!" -Ed)

(9) 1.Or5! 0 1...h4th2trztKh4tKhz

2.Oes/Qgs/Qxl2/Qt4/Qxh3 #

A REFLEXMATE

(10) 1.Q94! 0 1...8b7/ d5/Kb7 tKdstKbs

2.Qc4l Qd7 I QcSlQe4l Qa4 #

So far in this supplement we have yel to meet a

lexmale. In Reflex Chess bolh sides are oblioed lo
mate on the move if possible. ln a reJlexmate,-White
moves first and plays with the object ol obliging Black
to mate him, while being careful to avoid situalions in
which Black can oblige him to mate. So it is like a
ref

TURNING AN IDEA INTO A

PROBLEM
oy

selfmate with the added conslrainl that bolh sides

musl mate on the move if they can do so. The

Brian Edwards

After almost four years of composing

chess problems I still consider myself very
much a novice at this game; there is so
much to learn. I can therefore only pass on
to the reader what I feel has heloed and

followino examole. from a recent lecture lo the BCPS

bv lvor Sanders. will illuslrate some ideas -

F CHLUBNA
2nd HM.. Die Schwalbe, 1969

influenced me most durinq that time. based

upon my own experience.

1.

Brian's pangraph no.

intercsting, and reminds me of various opinions

stressed by the late Norman Mcleod, like - "Very nice

fi..A,..',,
H.
A4
l:,.:: ,,,, l
,

Keep the initial theme straightforward.

Try not to be over-ambitious. Many fine
problems have stemmed from a single

line of play of from the

,: AE

active

combination of a few oieces.

2.

Keep an ooen mind about the theme

Sometimes new ideas emerge
during the construction which might
prove superior to the original one or

itself.

which might depart totally from

it.

Such

new lines are always worth following

uo.

3. Let you imagination take its own

course. lf possible, do not impose any
restrictions with regafd to problem

length or genre. By all means start out

R#2

.QaB? (2.Ra6 Be5#) Bf'l

.Qf1!
...Bxd6
. . .Bb6
. . - Bd8

(2.Ra6 Be5

2.Qh8

#)

2-Qa6 Be5
2.Rd4 Rxrj,i
2 .Ra6 lt1: t'

1l

BDS